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#AHEADJournal Jamie Alexander is one half of Park Life @parklifegallery , the exquisitely curated, always interesting retail store and gallery space in Inner Richmond, which he opened in 2006 with Derek Song. Since then, Park Life has become a cultural mainstay, where you might find works from our favorite locals next to rare print ephemera or the latest edition of Apartamento (currently, we’re enjoying Graphic Languages, a global survey of writing systems). Alexander is also co-founder of the exquisitely interesting, always curated SF Art Book Fair @sfartbookfair , where you might find us strolling this summer. Recently we visited his home in the Richmond District, where we talked books, beginnings, and the time he was sued by Jeff Koons.

Pictured: A vignette in Jamie Alexanders apartment in the Inner Richmond of San Francisco. Read more on California: A Journal.

📷 @ekaterinaizmestieva

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#studioahead #parklifegallery

#StudioAHEAD Join Studio AHEAD team! We are currently hiring for Junior Designer and Intermediate Designer roles.
Link in bio for more info.

📷 : @ekaterinaizmestieva

#ByStudioAHEAD Guest bedroom aboard The World @theworldresidences , a 165-residence floating yacht, featuring the soft curves of our custom Sheep Bed in undyed cream wool felt by @jgswitzer alongside a volcanic side table by @la.lland .

Link in bio for the full project features from @dezeen , with a story by @dahowarth and @galeriemagazine article with a story by @ryanwaddoups .

📷 @inge_prins
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#studioahead #theworldresidence #interiordesign #yachtdesign

#ByStudioAHEAD Custom fiberglass kitchen aboard The World @theworldresidences , a 165-residence floating yacht. Aybar Gallery @aybargallery and Vava Objects @vavaobjects fashioned the custom fiberglass kitchen, which features zellige tiles in sea-green shades by Davinci Marble @davincimarble and Clé Tile @cletile .

Link in bio for full project feature from @galeriemagazine , story by @ryanwaddoups .

📷 @inge_prins
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#studioahead #theworldresidencesatsea#fiberglass

#AHEADJournal When Rel Robinson @rel.robinson told us that the internet could be considered one giant fiber art structure, our minds were blown, but she has a point. It’s just one of many surprising observations Robinson throws into a conversation, which, when we talked to her earlier this month, ranged from quilts as archive to the importance of gay sex guides in defying LLM training.
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Robinson is an artist, quiltmaker, publisher, writer—but as we learned, these are not stable categories, and one interesting aspect of her work is how one label folds into another. Is a quilt that features language in its design a text? Is hanging one on your wall a form of publishing? We’re not sure there are definitive answers to be had. The delight of Robinson’s work is getting us to ask. Read more on California: A Journal.

📷 @ekaterinaizmestieva
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#studioahead #relrobinson #studiovisit

100 Candleholders draws inspiration from JB’s 1981 exhibition 100 Plates Plus, where he playfully expanded a prolific form. Here, each artist brings a distinct approach to material, process, and the interplay between aesthetics and function. 100 Candleholders is on view at Blunk Space through March 28.

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"In a constant act of balance, the natural and the civilized, an abalone shell coexists with the flame."

Studio AHEAD
AHEAD Candelabra, 2025
Brushed aluminum, spring loaded candle, abalone shell from Inverness
25 x 30 x 7 inches
63.5 x 76.2 x 17.8 cm
(@studioahead)

"In French, tour means 'tower', but it also means 'turn,' 'rotation,' or even 'trick.' For this project, I played with these principles by creating what I like to call 'tricked twisted towers.'"

Tiago Almeida
Tour, 2025
Oak, walnut, and copper
Oak: 4x4x25cm Walnut: 5x5x13cm
(@tiago.almd)

Torbjörn Vejvi
Untitled, 2025
Painted turned wood
Small: 10 x 7.5 x 6 inches
Large: 11.5 x 6 x 5.5 inches
(@t_vejvi)

"This candle holder was made from offcuts from chairs and tables I have recently made. Many of my offcuts are so interesting that I tend to save them all for future use. It takes time and playfulness to visualize what form they can acquire. The candle holder idea was a great instigator."

Tripp Carpenter
Candle holder, 2026
Oak, Rosewood, Walnut
7 x 12 x 6 inches
17.8 x 30.5 x 15.2 cm
(@espenetfurniture)

"I always wonder about the relationship between the objects I design and their environment – in this case, the relationship between a candle holder and a table. Is it just placed on top of another object? What if the candle seems to float above the surface instead? If it appears to be floating in the air, does that mean it can move? Could the candle come closer when I need it?"

Tung Chiang
Dancer in the dark, 2025
Steel
4 x 11 x 4 inches
10.2 x 27.9 x 10.2 cm
(@tungchiang)

100 Candleholders draws inspiration from JB’s 1981 exhibition 100 Plates Plus, where he playfully expanded a prolific form. Here, each artist brings a distinct approach to material, process, and the interplay between aesthetics and function. 100 Candleholders is on view at Blunk Space through March 28.

—

"In a constant act of balance, the natural and the civilized, an abalone shell coexists with the flame."

Studio AHEAD
AHEAD Candelabra, 2025
Brushed aluminum, spring loaded candle, abalone shell from Inverness
25 x 30 x 7 inches
63.5 x 76.2 x 17.8 cm
(@studioahead)

"In French, tour means 'tower', but it also means 'turn,' 'rotation,' or even 'trick.' For this project, I played with these principles by creating what I like to call 'tricked twisted towers.'"

Tiago Almeida
Tour, 2025
Oak, walnut, and copper
Oak: 4x4x25cm Walnut: 5x5x13cm
(@tiago.almd)

Torbjörn Vejvi
Untitled, 2025
Painted turned wood
Small: 10 x 7.5 x 6 inches
Large: 11.5 x 6 x 5.5 inches
(@t_vejvi)

"This candle holder was made from offcuts from chairs and tables I have recently made. Many of my offcuts are so interesting that I tend to save them all for future use. It takes time and playfulness to visualize what form they can acquire. The candle holder idea was a great instigator."

Tripp Carpenter
Candle holder, 2026
Oak, Rosewood, Walnut
7 x 12 x 6 inches
17.8 x 30.5 x 15.2 cm
(@espenetfurniture)

"I always wonder about the relationship between the objects I design and their environment – in this case, the relationship between a candle holder and a table. Is it just placed on top of another object? What if the candle seems to float above the surface instead? If it appears to be floating in the air, does that mean it can move? Could the candle come closer when I need it?"

Tung Chiang
Dancer in the dark, 2025
Steel
4 x 11 x 4 inches
10.2 x 27.9 x 10.2 cm
(@tungchiang)

100 Candleholders draws inspiration from JB’s 1981 exhibition 100 Plates Plus, where he playfully expanded a prolific form. Here, each artist brings a distinct approach to material, process, and the interplay between aesthetics and function. 100 Candleholders is on view at Blunk Space through March 28.

—

"In a constant act of balance, the natural and the civilized, an abalone shell coexists with the flame."

Studio AHEAD
AHEAD Candelabra, 2025
Brushed aluminum, spring loaded candle, abalone shell from Inverness
25 x 30 x 7 inches
63.5 x 76.2 x 17.8 cm
(@studioahead)

"In French, tour means 'tower', but it also means 'turn,' 'rotation,' or even 'trick.' For this project, I played with these principles by creating what I like to call 'tricked twisted towers.'"

Tiago Almeida
Tour, 2025
Oak, walnut, and copper
Oak: 4x4x25cm Walnut: 5x5x13cm
(@tiago.almd)

Torbjörn Vejvi
Untitled, 2025
Painted turned wood
Small: 10 x 7.5 x 6 inches
Large: 11.5 x 6 x 5.5 inches
(@t_vejvi)

"This candle holder was made from offcuts from chairs and tables I have recently made. Many of my offcuts are so interesting that I tend to save them all for future use. It takes time and playfulness to visualize what form they can acquire. The candle holder idea was a great instigator."

Tripp Carpenter
Candle holder, 2026
Oak, Rosewood, Walnut
7 x 12 x 6 inches
17.8 x 30.5 x 15.2 cm
(@espenetfurniture)

"I always wonder about the relationship between the objects I design and their environment – in this case, the relationship between a candle holder and a table. Is it just placed on top of another object? What if the candle seems to float above the surface instead? If it appears to be floating in the air, does that mean it can move? Could the candle come closer when I need it?"

Tung Chiang
Dancer in the dark, 2025
Steel
4 x 11 x 4 inches
10.2 x 27.9 x 10.2 cm
(@tungchiang)

100 Candleholders draws inspiration from JB’s 1981 exhibition 100 Plates Plus, where he playfully expanded a prolific form. Here, each artist brings a distinct approach to material, process, and the interplay between aesthetics and function. 100 Candleholders is on view at Blunk Space through March 28.

—

"In a constant act of balance, the natural and the civilized, an abalone shell coexists with the flame."

Studio AHEAD
AHEAD Candelabra, 2025
Brushed aluminum, spring loaded candle, abalone shell from Inverness
25 x 30 x 7 inches
63.5 x 76.2 x 17.8 cm
(@studioahead)

"In French, tour means 'tower', but it also means 'turn,' 'rotation,' or even 'trick.' For this project, I played with these principles by creating what I like to call 'tricked twisted towers.'"

Tiago Almeida
Tour, 2025
Oak, walnut, and copper
Oak: 4x4x25cm Walnut: 5x5x13cm
(@tiago.almd)

Torbjörn Vejvi
Untitled, 2025
Painted turned wood
Small: 10 x 7.5 x 6 inches
Large: 11.5 x 6 x 5.5 inches
(@t_vejvi)

"This candle holder was made from offcuts from chairs and tables I have recently made. Many of my offcuts are so interesting that I tend to save them all for future use. It takes time and playfulness to visualize what form they can acquire. The candle holder idea was a great instigator."

Tripp Carpenter
Candle holder, 2026
Oak, Rosewood, Walnut
7 x 12 x 6 inches
17.8 x 30.5 x 15.2 cm
(@espenetfurniture)

"I always wonder about the relationship between the objects I design and their environment – in this case, the relationship between a candle holder and a table. Is it just placed on top of another object? What if the candle seems to float above the surface instead? If it appears to be floating in the air, does that mean it can move? Could the candle come closer when I need it?"

Tung Chiang
Dancer in the dark, 2025
Steel
4 x 11 x 4 inches
10.2 x 27.9 x 10.2 cm
(@tungchiang)

100 Candleholders draws inspiration from JB’s 1981 exhibition 100 Plates Plus, where he playfully expanded a prolific form. Here, each artist brings a distinct approach to material, process, and the interplay between aesthetics and function. 100 Candleholders is on view at Blunk Space through March 28.

—

"In a constant act of balance, the natural and the civilized, an abalone shell coexists with the flame."

Studio AHEAD
AHEAD Candelabra, 2025
Brushed aluminum, spring loaded candle, abalone shell from Inverness
25 x 30 x 7 inches
63.5 x 76.2 x 17.8 cm
(@studioahead)

"In French, tour means 'tower', but it also means 'turn,' 'rotation,' or even 'trick.' For this project, I played with these principles by creating what I like to call 'tricked twisted towers.'"

Tiago Almeida
Tour, 2025
Oak, walnut, and copper
Oak: 4x4x25cm Walnut: 5x5x13cm
(@tiago.almd)

Torbjörn Vejvi
Untitled, 2025
Painted turned wood
Small: 10 x 7.5 x 6 inches
Large: 11.5 x 6 x 5.5 inches
(@t_vejvi)

"This candle holder was made from offcuts from chairs and tables I have recently made. Many of my offcuts are so interesting that I tend to save them all for future use. It takes time and playfulness to visualize what form they can acquire. The candle holder idea was a great instigator."

Tripp Carpenter
Candle holder, 2026
Oak, Rosewood, Walnut
7 x 12 x 6 inches
17.8 x 30.5 x 15.2 cm
(@espenetfurniture)

"I always wonder about the relationship between the objects I design and their environment – in this case, the relationship between a candle holder and a table. Is it just placed on top of another object? What if the candle seems to float above the surface instead? If it appears to be floating in the air, does that mean it can move? Could the candle come closer when I need it?"

Tung Chiang
Dancer in the dark, 2025
Steel
4 x 11 x 4 inches
10.2 x 27.9 x 10.2 cm
(@tungchiang)

100 Candleholders draws inspiration from JB’s 1981 exhibition 100 Plates Plus, where he playfully expanded a prolific form. Here, each artist brings a distinct approach to material, process, and the interplay between aesthetics and function. 100 Candleholders is on view at Blunk Space through March 28.

—

"In a constant act of balance, the natural and the civilized, an abalone shell coexists with the flame."

Studio AHEAD
AHEAD Candelabra, 2025
Brushed aluminum, spring loaded candle, abalone shell from Inverness
25 x 30 x 7 inches
63.5 x 76.2 x 17.8 cm
(@studioahead)

"In French, tour means 'tower', but it also means 'turn,' 'rotation,' or even 'trick.' For this project, I played with these principles by creating what I like to call 'tricked twisted towers.'"

Tiago Almeida
Tour, 2025
Oak, walnut, and copper
Oak: 4x4x25cm Walnut: 5x5x13cm
(@tiago.almd)

Torbjörn Vejvi
Untitled, 2025
Painted turned wood
Small: 10 x 7.5 x 6 inches
Large: 11.5 x 6 x 5.5 inches
(@t_vejvi)

"This candle holder was made from offcuts from chairs and tables I have recently made. Many of my offcuts are so interesting that I tend to save them all for future use. It takes time and playfulness to visualize what form they can acquire. The candle holder idea was a great instigator."

Tripp Carpenter
Candle holder, 2026
Oak, Rosewood, Walnut
7 x 12 x 6 inches
17.8 x 30.5 x 15.2 cm
(@espenetfurniture)

"I always wonder about the relationship between the objects I design and their environment – in this case, the relationship between a candle holder and a table. Is it just placed on top of another object? What if the candle seems to float above the surface instead? If it appears to be floating in the air, does that mean it can move? Could the candle come closer when I need it?"

Tung Chiang
Dancer in the dark, 2025
Steel
4 x 11 x 4 inches
10.2 x 27.9 x 10.2 cm
(@tungchiang)

#ByStudioAHEAD Powder room in our Berkeley residence project. This space features a custom vanity, a verdigris sink with a stone pedestal inspired by Japanese tea houses, alongside a custom mirror and sconces, all set against the home’s original craftsman stained glass window.

📷 @ekaterinaizmestieva
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#studioahead #berkeley #craftsmanhouse #stainedglass

San Francisco-based firm @StudioAhead exactingly overhauls a two-bedroom maritime residence into a warm family refuge shaped by its owner’s passion for craft and collecting. Step inside this water retreat through the link in our bio.
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Story by @RyanWaddoups

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Photos by @Inge_Prins
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#StudioAhead #Yacht #Interiors #InteriorDesign #GalerieMagazine #LiveArtfully

San Francisco-based firm @StudioAhead exactingly overhauls a two-bedroom maritime residence into a warm family refuge shaped by its owner’s passion for craft and collecting. Step inside this water retreat through the link in our bio.
—

Story by @RyanWaddoups

—
Photos by @Inge_Prins
—
#StudioAhead #Yacht #Interiors #InteriorDesign #GalerieMagazine #LiveArtfully

San Francisco-based firm @StudioAhead exactingly overhauls a two-bedroom maritime residence into a warm family refuge shaped by its owner’s passion for craft and collecting. Step inside this water retreat through the link in our bio.
—

Story by @RyanWaddoups

—
Photos by @Inge_Prins
—
#StudioAhead #Yacht #Interiors #InteriorDesign #GalerieMagazine #LiveArtfully

San Francisco-based firm @StudioAhead exactingly overhauls a two-bedroom maritime residence into a warm family refuge shaped by its owner’s passion for craft and collecting. Step inside this water retreat through the link in our bio.
—

Story by @RyanWaddoups

—
Photos by @Inge_Prins
—
#StudioAhead #Yacht #Interiors #InteriorDesign #GalerieMagazine #LiveArtfully

San Francisco-based firm @StudioAhead exactingly overhauls a two-bedroom maritime residence into a warm family refuge shaped by its owner’s passion for craft and collecting. Step inside this water retreat through the link in our bio.
—

Story by @RyanWaddoups

—
Photos by @Inge_Prins
—
#StudioAhead #Yacht #Interiors #InteriorDesign #GalerieMagazine #LiveArtfully

San Francisco-based firm @StudioAhead exactingly overhauls a two-bedroom maritime residence into a warm family refuge shaped by its owner’s passion for craft and collecting. Step inside this water retreat through the link in our bio.
—

Story by @RyanWaddoups

—
Photos by @Inge_Prins
—
#StudioAhead #Yacht #Interiors #InteriorDesign #GalerieMagazine #LiveArtfully

San Francisco-based firm @StudioAhead exactingly overhauls a two-bedroom maritime residence into a warm family refuge shaped by its owner’s passion for craft and collecting. Step inside this water retreat through the link in our bio.
—

Story by @RyanWaddoups

—
Photos by @Inge_Prins
—
#StudioAhead #Yacht #Interiors #InteriorDesign #GalerieMagazine #LiveArtfully

San Francisco-based firm @StudioAhead exactingly overhauls a two-bedroom maritime residence into a warm family refuge shaped by its owner’s passion for craft and collecting. Step inside this water retreat through the link in our bio.
—

Story by @RyanWaddoups

—
Photos by @Inge_Prins
—
#StudioAhead #Yacht #Interiors #InteriorDesign #GalerieMagazine #LiveArtfully

#AHEADJournal Whenever we’re in New York, we try to spend an afternoon with artist and writer Michele Oka Doner @micheleokadoner at her loft in SoHo. Oka Doner moved here in the early 80s, when the neighborhood was still industrially zoned, the streets empty, and the buildings, if not abandoned, housed a few struggling artists.

Things have, obviously, changed. But from Oka Doner’s loft, you can still barely hear the traffic below, as if the streets were deserted. Instead, as she pointed out, there is birdsong and seagulls. Both Oka Doner’s home and her studio, the loft is also an archive of sorts, a gallery, and a library with thousands of books. We followed her as she walked around pulling out drawings, holding up bits of rock and coral, pointing to new and old sculptures, each with a story or idea behind them. For Oka Doner, the natural world is a book and none of the answers are in the back.

Oka Doner is probably best known for “A Walk on the Beach,” the mile-and-a-quarter long floor installation at the Miami airport (her father was mayor of Miami Beach). But we have an affinity for her smaller, more intimate pieces, like the Burning Bush candelabras cast in bronze, throwing a spidery shadow along the walls; or her inscrutable books, like “Intuitive Alphabet,” which might be for children if adults weren’t the ones who need to read it most. We wondered how someone so attuned to nature could spend most of her life in the city, but Oka Doner reminded us that nature is always there, if we only look and see.

Read more on California: A Journal. Link in bio.

📷 @ekaterinaizmestieva

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#studiovisit #michelleokadoner

#AHEADJournal Whenever we’re in New York, we try to spend an afternoon with artist and writer Michele Oka Doner @micheleokadoner at her loft in SoHo. Oka Doner moved here in the early 80s, when the neighborhood was still industrially zoned, the streets empty, and the buildings, if not abandoned, housed a few struggling artists.

Things have, obviously, changed. But from Oka Doner’s loft, you can still barely hear the traffic below, as if the streets were deserted. Instead, as she pointed out, there is birdsong and seagulls. Both Oka Doner’s home and her studio, the loft is also an archive of sorts, a gallery, and a library with thousands of books. We followed her as she walked around pulling out drawings, holding up bits of rock and coral, pointing to new and old sculptures, each with a story or idea behind them. For Oka Doner, the natural world is a book and none of the answers are in the back.

Oka Doner is probably best known for “A Walk on the Beach,” the mile-and-a-quarter long floor installation at the Miami airport (her father was mayor of Miami Beach). But we have an affinity for her smaller, more intimate pieces, like the Burning Bush candelabras cast in bronze, throwing a spidery shadow along the walls; or her inscrutable books, like “Intuitive Alphabet,” which might be for children if adults weren’t the ones who need to read it most. We wondered how someone so attuned to nature could spend most of her life in the city, but Oka Doner reminded us that nature is always there, if we only look and see.

Read more on California: A Journal. Link in bio.

📷 @ekaterinaizmestieva
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#studiovisit #michelleokadoner

#ByStudioAHEAD Excited to share that Side A @sideasf has been put in the Louis Vuitton City Guide! Thank you @alexichen!

Since 1998, the Louis Vuitton City Guides have brought the world’s most fascinating cities to life for business and leisure travelers alike. To capture the spirit of each city, Louis Vuitton reaches out to journalists, writers and major figures in the world of arts and letters, whose contributions – together with those of artists, businesspeople and creative talents from many fields – make each City Guide a publication like no other.

📷 @ekaterinaizmestieva

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#studioahead #sideasf #listeninglounge #lvcityguide

#StudioAHEADresents The Houses Are Haunted by White Night-Gowns is currently on display at The Future Perfect @thefutureperfect San Francisco Gallery through March 6th.

Inspired by pre-internet days of antique-hunting, of free exploration in secondhand shops and the thrill of the find, this new exhibition rejects the era of hyper-curation. How can we bypass the influencer, the algorithm, the pre-selected and already-discovered, while still engaging in community? Studio AHEAD invited artists represented by The Future Perfect to produce bowls, giving artists freedom to choose material and approach, so long as each was large enough to hold fruit or serve pasta from family-style, or collect grandma’s assorted candies. Et Al Gallery @etalgallerysf in San Francisco was asked to contribute used books of their own pick in art theory and design. Mid Century Møbler @midcenturymobler supplied mid-century furniture from the 1940s to 1970s, and C. Mariani Antiques @cmarianiantiques from the 17th to 19th centuries, arranged in stacked displays around the gallery space.

The resulting topology is reminiscent of an antique shop’s piles of accumulated stuff, but also the mountains and valleys that children, forced to go antiquing with their parents, make of them in their imagination. Bowls and books are items of wonder to be found throughout. Armoires and credenzas become places to hide or pedestals to be seen. Neither fully embracing nostalgia, nor wishing to erase these objects’ history, the exhibition instead encourages viewers to indulge their own associations. Some pieces stir personal reflection, all are embedded within a larger web of relation waiting to be discovered.


3085 Sacramento Street, San Francisco
Monday - Friday 10am-6pm.